Wednesday, December 31, 2014

My first thought was: I'm not just going to add to the infinite pile of year end top ten lists with today's post. No way, not gonna do it. So what should I do? Pontificate about how much better/worse 2014 was than 2013? Summarize every post I made over the course of the year? Write a retrospective on "A Surf M.C. New Year?" [Note to self: that's actually a good one; save that idea for 2016!] No, what we need most right now is just a good, new release. And fortunately, one just arrived in the mail last week.

Who the hell is Dankslob? No, you're right not to recognize the name; but you should recognize the actual artists. Dankslob is Luke Sick's latest project. Pretty much every time he works with somebody new, he makes a new group name for it... Underbucket/ Grand Invincible, Brougham, Get the Hater, The Disturbers, Rime Force, Motel Crew, Yole Boys, Grand Killa Con... all these groups can be explained as "Luke Sick and ____." And this is the latest, and this time he's teamed up with G-Pek, the producer who made Z-Man's Don't Forget To Brag. Now that's a sweet match!

and it really works here. G-Pek really switches tones to work with Luke; he's got a real feel for tailoring his sound to match Luke's vibe. As dark and dank as their name and cover art imply, full of soundbites from The Killing of a Chinese Bookie (plus a little Barfly.and a few assorted clips), and Luke sounding as worn and world weary as ever. So many rappers seemed to have peaked around their second or third albums, but Luke just keeps getting better as he gets older, aging into perfectly tragic Hemmingway-style raconteur:

"Pop shit,And loogie spit on everyone. We on the couch.Tell the bitch to shut its fucking mouth.We like to slouch,Think about how it's turning out.We take our time;Greg Pek knew this shit had clout.I wasn't caring'Till the hash all runnin' out.Now we out,But my feet hurt; I got the gout.Them Earls bounce;Suckers front like they really down.But they never was;They just some pussy clowns.I made enough to eat and sleep;That's how I got down.I ate ribs,Tried to live at the titty bar.Don't even trip,Holmes, ounce in the jelly jar."

I was all set to be disappointed, then, when I flipped this tape over. I mean, that would be fine, since Dankslob was perfect and more than worth the purchase in and of itself. But I've never heard of J-Eazy, this was gonna be some new jack piggybacking on Luke Sick. I know Brycon, though. He's the other half of Grand Killa Con with Luke Sick, and that was a solid album. So gotta give it a fair shot, at least.

Well, it's pretty good, too! I prefer the A-side (here's hoping Dankslob isn't a one-off!), but Damaged Goods, as its titled, is a cool bonus B-side. It's got a whole different feel to it, at once scrappier and more indie, but also bouncier and more upbeat. Think of it this way: if Dankslob is vintage Wu-Tang; Damaged Goods is vintage Killarmy. And just like with those Wu spin-off groups, it certainly doesn't hurt that the original Wu always drops by for a profile-rising guest appearance. Yeah, Luke Sick drops in and adds a verse and hook fora song called "Shattered Up" near the end (there's no track-listing or anything with this tape; but both groups posted song titles on their bandcamps).

This tape is really, really good. I mean, these Gurp City cats are consistently good; but I would even put this above their average. And like all their tapes, they're so well priced ($8, which includes shipping), it's a wonder there's any still available after an hour. Obviously, most of you people are still sleeping; and you're only going to regret it once you eventually realize how much they've been killing it over the years. Cop it here or continue missing out into 2015.

Saturday, December 27, 2014

It's been a long road, hasn't it, Kanefans? From the earliest singles on Prism to the final one on Mahogany Records, plus the lost catalog material finally unearthed by DWG and and Hot Chillin'. All the classic albums, all the soundtracks and killer guest appearances. You've amassed it all; it's finally time to close the book on collecting Big Daddy Kane records, at least until Primo finally kicks his butt back into the studio. Ah, but wait... do you have this?

Remember "Do My Love Onta You?" Not many people do. It's a song from Kane's last album, Veteranz Day in 1998, and not one of the best. That's already pretty obscure. But now, how about the "Do My love Onta You (Royal Gardens Remix)" only released in Germany? There's one missing from the history books.

Royal Garden is one of those production groups put together by a label to remix American imports. Like ZYX Records after ZYX Records closed up shop. From Lauryn Hill to Tom Jones, these guys made new versions of a lot of great artists' records without actually meeting any of them. And in 1998, where Veteranz Day was getting more love in almost every other country except ours, it was Kane's turn to receive the Royal G treatment.

Now originally, "Do My Love" wasn't actually so bad. Despite the title, it's not a token love song; it's Kane in full Count Mackula mode, with lots of punchlines and jokes. "Shinin' kinda like a half moon. Catch me tryin' to get it on inside the women's bathroom. (Nah, he wouldn't.) Yes, I would for the puddin'. Just come inside the toilet booth and everything is Cuba Goodin'." It's a little corny, but his flow is still great. The production is decent but unremarkable and he's got a pretty talented girl singing back-up vocals on the track. What possibly holds it back the most is the hook, "Now how do I do when I do my love onto you? Show me love when you want to." Repeated four times. It's just stilted and uncomfortable, and while the studio-produced keyboard riffs are enough to support the rhymes, they just can't keep the hook afloat.

The Gardens recognized this problem and fixed it by taking it the fuck out. Now all Kane does is a few ad-libs while the singer has the hook essentially to herself. So much better. And instrumentally, they take out the original keyboard line that has a bouncy piano feel and replace it with smoothed out lines. I'm not really sure which is preferable. It reminds me of the "Chicks Pack Heat" remix in that respect. What is clearly an improvement, however, is the new horn sample they add to the hook, replacing a very G-funk whistle sound laid into the original mix.

It feels less like a brand new remix than a corrected version, like the original was some unfinished demo mix that should never have made it to the retail album. It won't blow you away, but it will definitely make you like the song more.

The 12" is nicely equipped with both the new remix, the original, and the new instrumental. It's also a double A-side, paired with the great "Uncut, Pure" remix, which was easily the gem of Veteranz Day. The album version as alright, but the remix with its blaxploitation-style Rufus Thomas sample, is killer. Classic Kane fit for a greatest hits album. And clearly The Label knew it because they released it over and over again. It was given its own single, with the original on one side and the remix on the flip, then it was paired with "2 da Good Tymez." Then it was paired with "Hold It Down," and then it was paired with "Earth, Wind & Fire." And it's also been paired with this. So chances are you already have the "Uncut, Pure" remix, rendering it pretty unnecessary here; but at least its a great song.

The good news is this single isn't limited. Nor is it on collectors' radar. So you can easily find copies super cheap. The bad news is, it was only released in Europe, so if you're state-side, you'll never find a US seller listing this. So, a super low price matched with high overseas shipping kind of balances out to a slightly overpriced record. But if you're rounding out an otherwise complete collection, I do think it's worth going slightly out of your way to throw this into the mix. It's better than you'd think and actually improves the song you've already got and forgotten about, bringing it up to par with the rest of his catalog.

Saturday, December 20, 2014

So after "Dynamic (Total Control)," you might be wondering what happened to those Total Control guys, since they seemed to be the artists to actually watch on that record? Well, Frankie Dee broke off, leaving Dynamike and DJ Johnny Juice to... join Newcleus! Yeah, this is now after the foursome all left Newcleus, leaving only the label-owner with the rights to the group name, and the two little kids. It would be like if Disney lost all the rights to their Marvel superhero characters and just made Avengers 2 with Stellan Skarsgård's character, telling the press, "we're still in continuity!"

These guys didn't stay long, and most people think of Newcleus's second iteration of The Next Generation, featuring later members like Money Mike in the early 90s. But there was this brief period in between. As Cozmo put it in our interview, "there were two incarnations of the phony Newcleus." The first was definitely the better of the pair, and this is one of their records, "We're So Hyped!" on Super Power Records in 1988.

This was actually their third 12". Their first was "Huxtable Houseparty" in 1987, which I've already written about. I think that was Dynamike taking the primary microphone duties there, along supporting vocals by the famous Newcleus kids, who also turn up on the second 12", "She's Bad." But apart from a little talking by those computerized kids, "She's Bad" is mostly a Michael Jackson-y style R&B record. You'd never guess it was even meant to be a Newcleus record if it didn't have those kids on the intro. I mean, granted, with records like "Why," Newcleus - the real Newcleus - had already dabbled in non rappity rap stuff. But this is really totally removed. I also have no idea who that is doing the actual singing on the bulk of this record.

So by this third 12" - also their last on Super Power Records and the last of this iteration of Newcleus - Dynamike may've already been out of the picture. "We're So Hyped!" swings back to hip-hop, though. In fact, it's kind of their most traditionally, non-spacey/electro hip-hop record in their catalog. It's some funky old school samples over a beat with only some drawn out synth lines coming up towards the end that really signal "Newcleus" to the listener.

There's also no kids. I mean, I think the actual kids probably are on this. But 1) being older, they no longer sound like the youngsters on "I Wanna Be a B-Boy," and 2) they don't use the computer effects on their voices that make them sound distinctly like "Newcleus kids." So there's just some generic male voices doing back-ups and fill-ins. In fact, there's practically no rapping, which is why I think Dynamike might've taken off even before "She's Bad." There are little tiny rap bits early on in the record, almost more hooks and pieces than rap verses, and certainly nothing that would require a particularly adept MC. It's all just basically two or three guys saying things like, "come on, give it all you got" strung together.

But I'll tell you who's definitely still around: DJ Johnny Juice. He gets big credit for the writing and arranging of this song in the notes, and he even has a big scratching breakdown mid-song, while the guys make barking dog(!) sounds. I think you can basically consider this basically his record. And it's not bad. It's a fun, if silly, hook over a collection of solid samples. The only drawback is, without much proper rapping, the song can feel a bit sparse. It comes alive when during the scratching and the spacey keyboard parts, and the basic instrumental is certainly catchy enough. But it can feel like a long wait between the funky horn stabs during a lot of the song. It just feel s a little incomplete.

My copy I've got pictured here is actually a German pressing. The US release doesn't come in a picture cover, but otherwise they're pretty much the same. Both just have the vocal version on the A side and the instrumental on the flip, though this foreign press does play at 45 rather than 33. "We;re So Hyped!" was the end of Stage 2 Newcleus; I don't think Johnny Juice stuck around after this. It wouldn't be until the 90s that Newcleus would make more records with new members, and then jumble things up even further by including songs from all 3 Newcleus Stages onto the Next Generation album. Anyway, Stage 2 Newcleus certainly didn't hold a candle to the original line-up. But if you're a big fan of upbeat 80s hip-hop and can put aside the comparison, these aren't so bad. Heck, I bet if these same songs came out under the name of Total Control they'd have some fans after 'em.

Friday, December 19, 2014

So for the next two days, I thought I'd take a look at a pair of records by a couple of the more overlooked and forgotten releases in old school rap history. They also happen to share an interesting connection. Up first is a record by The Dynamic Breakers... without Total Control.

See, the Dynamic Breakers/ Dynamic Rockers were a break-dancing crew (I know, you never would've guessed) in the movement's heyday. They were one of the biggest and most well known right behind Rocksteady Crew and the New York City Breakers. So, they were great dancers, not rappers or musicians. But in the 80s, everybody was getting deals. Rocksteady had an album, graf writers like Futura 2000 and Fab 5 Freddy were getting money to make records. And so it followed that Sunnyview Records signed The Dynamic Breakers in 1984.

I once interviewed Cozmo D (of Newcleus, of course, who were Sunnyview's biggest hip-hop act), who did the music for that record; and he explained how it went down better than I could, "Now, they already tried to do a record, and they had these cats named
Total Control who were rapping for them. Now they broke off with the
managers, so Joe comes and gets us to produce a new track for the rap
record. So we helped them write rhymes, and he gets Total Control to
come in, too. So we do a whole new beat, called 'Dynamic' and Total
Control are on there, but they didn’t get any credit… just the Dynamic
Breakers. So the whole thing is Total Control rapping with Dynamic
Breakers coming through with some weak raps here and there, because they
were horrible. We had written rhymes for them, but they were really
horrible so they had to get Total Control back in."

So yeah, Total Control never got credited as the artists on that record, but the song was at least titled "Dynamic (Total Control)" on the original 12" label. And it's a hot record. The MCs Dynamike and Frankie Dee rock pretty well over a fresh track by Cozmo, and their DJ even gets in some nice little scratching. The Dynamic Breakers parts are really brief, like cameos. There's just one part near the end where each member goes, "I'm Deuce. (He's Deuce!) And I'm just too fresh. You can put me on the floor and put me to the test." And they repeat that with each of the Breakers putting their own name into that couplet. All the other rapping is by Total Control. And while the record never became a huge hit, it's definitely a well-regarded electro-hop record that has stood the test of time. You'll still hear old school heads bring it up and copies still pass back and forth amongst record collectors.

But you know what record people don't talk about? "Kim," the follow-up record The Dynamic Breakers did in '85, without Total Control. This was their second and last single, which they did all on their own. You know, except musically. It's credited as a "Newcleus production," and instrumentally it's pretty fresh. It's a little more rock-ish with some live guitars, but still funky electro. It sort of reminds me of a softer "The Mexican" by Jellybean, except with raps.

Yeah, the raps. If the guys from Total Control ever wanted a little vindication, to support claims that they're responsible for the strength of "Dynamic," this experiment without them definitely demonstrates how keenly their absence is felt.Their voices, stilted flows and super-simple rhyme schemes are amateur, just riding the line of being embarrassing. The rhymes are contrived, too, like, "what's this all about? I don't wanna shout. Who's the guy you're seeing, does he have clout?" Or, "only a fool would fall for that kind of trap. That's why I'm singing to you this rap." Admittedly, some of the guys are vocally stronger than others, but it's the catchy instrumental really saves them. And it helps that they went for a concept song rather than freestyles to show off their (lack of) skills.

Like the title suggests, it's about a girl named Kim (not to be confused with Biz Markie's thing) who they're sweating but who may not like them back. In other words, a Roxanne record, except this time she's named Kim. Except with no clever or amusing raps. This time the rhymes are entirely generic and the weight is carried by a Newcleus-y instrumental. But... that's not a terrible thing. It really does sound good, and the Roxanne concept certainly worked for a reason. I actually do rather like this record.

I do wonder how they came upon the name "Kim" for this record. Apart from being a single syllable name they can shout for the hook, it could be any girl's name. And The Dynamic Breakers already had a member named Kim. Kim-A-Kaze wasn't involved with either of the records, but she was a dancer with the crew who formed a smaller, spin-off group called the Dynamic Dolls, who had just appeared in Beat Street the year before. She also choreographed the famous break dance performance for Ronald Reagan. I don't think the song's actually meant to be about her (if so, there must be some fascinatingly tumultuous behind-the-scenes stories of her running around breaking all the guys' hearts), but there's a good chance they chose the name as a deliberate reference. I mean, you can't go around performing a song where you're constantly professing your love and desire for a girl named Kim and not make the connection that one of the people on stage with you is named Kim, right?

So yeah. After hearing this, it's not surprising that the Breakers' recording careers didn't continue. But, taken on its own, this single is actually quite enjoyable. And check back tomorrow for another interesting little off-shoot record that time forgot tomorrow.

Thursday, December 18, 2014

The Bay's Z-Man has dropped two new albums recently. One, The Opening Act, with producer Elon, is brand new. The other, California Brainwashed, isn't quite so new, it's actually dated 2013 on the artwork, but it's been hard enough to pin down that it's still pretty new to most of us. I was only able to get my hands on a copy this week, and you know me, I've been on the case. If I haven't been able to find it... unless you've been able to cop it from him at a show, I don't know how much hope you would've had.

Of course, we're talking CDs here, not vinyl; so maybe just downloading these off ITunes or wherever would be just as acceptable to you guys anyway. Personally, though, I held out for the CDs and I'm glad I did. 8)

So let's talk about 'em! First of all, it's important to say that both of these are raw, traditional Z-Man-style albums. They're what you think of when you think of Z-Man tapes. He's not paired up with a rock band or rhyming over electro club beats or chasing fads to sound like whatever any trendy Community fans are listening to this week. Z-man's been known to experiment pretty far out of the box, and I've enjoyed some of it (Motel Crew) more than others (One Block Radius); but this is Z perfectly in his lane, right where we want him, no more fucking around. Stylistically and instrumentally, these could almost blend into one giant, awesome double album. But there's something in the writing that keeps them fundamentally distinct.

"This ain't no mixtape!" is how California Brainwashed starts out, and that's pretty much its sole theme.It's a full, proper album; but it's just Z being Z. The full bravado on dolo with essentially no guests. On the anthemic "Entertainer," he answers hip-hop's age old question, "how can I move the crowd? Maybe by pullin' out an uzi that wasn't allowed!" There are a couple credited DJs on certain songs, but apart from an interesting scribble-scratch motif Quest lets loose with on "Courtesy of C.A.L.I.," there's not a lot of attention-getting scratching going on here either. The focus is solely on Z-Man talkin' his shit. Being from Cali, being more specifically from the Bay (as the track kicks in he shouts, "sounds like E-40 and the Click should be on this one, huh? But they not... couldn't afford 'em."), smoking weed and more, being hassled by the cops, playing girls and hanging with his boys. All over perfectly underground west coast beats.

The Opening Act, on the other hand, is full of introspection, honesty and self-doubt. As opposed to loudly declaring "this ain't no mixtape,"Opening starts out with Z saying, "there's no one in my family who's doin' this except for I. Deep down inside they want me to quit, so I don't look like a... idiot, full grown adult with a kid's dream. No results but I've been doing this since I was fifteen!" Well, it starts that way after the opening skit. This album is full of skits, because it's also a bit of a concept album, following a little narrative of Z going on tour with a big shot, cornball named Short Neck. Z-Man is the titular opening act, and throughout the album he's suffering this indignation. On "Wack Flyers," he laments, "my music's right; at least I think so, but can't seem to catch a break. My voice is annoying; I made a mistake! God damn it, I'm in the wrong racket; I should be rich, instead of criticizing advertisements - who did this shit? Look at these graphics, this is backwards, this don't represent us!" And now, instead of playing girls, he asks himself challenging questions about maintaining an adult relationship while her career out-sails his own on "She's the DJ I'm the Rapper."

Now, this second album's specifically billed as Z-Man and Elon. And the result is that the production is a little more varied, the influences are broader. "American Newjack" has a strong "Chicks Pack Heat" feel to it, which is absolutely a good thing, and "Innercity Dreams" has some spacey keyboard riffs that definitely come out of left field. This album also features some guest MCs, including Luke Sick, Trunk Drank and Opio and Pep Love, which is interesting if you recall that Z-Man was briefly brought into the Hieroglyphicscrew, but then briefly parted ways. That was ten years ago, and I believe this is their first reunion; but, no, they don't address it in the song.

Anyway, it would be going too far to say that California Brainwashed is all attitude and The Opening Act is all emo reflection. Both albums give you a full dose of Z. He has a song on the second album called "Bottle At Your Baby" where he raps, "you gonna give me loot when I ask. And no you cannot owe me; you do not know me; you owe me, you're honorin' my part, you're fuckin' phoney as fuck, I'll fuckin' throw this bottle that you gave me at your business partner and your lady holdin' your baby. We rollin' to the ATM so we can pull out gravy for me and my rellies." Shit, both albums have him transforming into The Gingerbread Man. I mean, that's a gimmick that intellectually you'd think should have been played out ten years ago. But just like Humpty Hump, he's just good enough at the cartoon-voiced character you keep you wanting to hear it again every time he drops a new album. But whatever your stance on it, it's definitely not him being meek and artsy.

So you should absolutely cop both CDs, you won't be disappointed by either. But how can you? Well, The Opening Act can be ordered easily enough through accesshiphop (and for under $10, too). But for California Brainwashed, I think the only thing you can do is contact Gurp City directly... and maybe they'll send you a paypal invoice or something? I don't know, but whatever little hoops you have to jump through, it'll be worth it.

Friday, December 5, 2014

I thought I could give my tape player a rest after Demo Week, but apparently not quite yet. This is a brand new release from a group that's a brand new discovery to me. They're called Glitch Mouth, and this is ostensibly their first release. You can find older releases from them online, but they're now calling those demos and this their first official release.

Glitch Mouth is essentially a two-man group, consisting of producer Kid Presentable from Brooklyn and Murmur, an MC from Connecticut. There's also a third person down, the questionably named Sister Snowbunny, but she's only on a couple of songs (literally two), singing hooks and back-up. Don't get me wrong, she's got a great voice and actually sounds quite good when they pull her into the mix. But think of it this way: nobody ever listened to 36 Chambers and thought, the only way this album could possibly be better is if Mary J. Blige would pop in to sing a chorus every two and a half minutes! You know, the occasional sung hook can be a powerful thing, but too much dilutes the hip-hop. And these guys find just the right balance.

So what are Glitch Mouth like? Don't let their weirdo cover art here, or even the group's press photos online, mislead you. It's east coast hip-hop. Vocally, the one guy kinda sounds like Cadencewith a really nice rhyme flow, but the Raw Produce comparisons definitely end there. Instrumentally they're pretty forward thinking, with a lot of varied samples and sounds woven together, and none of that jazzy vibe. It's more down the Prince Paul road, without much by way of recognizable samples, except for a recurring theme of soundbites from the old Richard Matheson film Last Man On Earth. And lyrically, they're actually pretty old school and straight forward. Not like Sugar Hill Gang old school, but like... Showbiz & AG? Yeah. If you imagine someone like that produced by Prince Paul, you're at least in the sonic ballpark.

Of course, that's some big names I'm comparing them to: Prince Paul, Wu-Tang, DITC, Mary J... I'm sure if they ever read this they'd think, wow, I'll take that! Well, look. I'm not putting these guys on those guys' level. .But I am saying these guys are good. And stylistically, they echo those greats... You know like MC Rell as compared to Rakim.

I think I can break it down better for y'all by going off on self-indulgent tangent. Maybe I'm cynical, but the impression I get reading most music reviews these days is that the writer listens to something once or several times, and then makes a decree not so much based on his or her own genuine reaction to the music, but more based on what he thinks people should feel about it. So, for example, they might watch a rapper's youtube video and say, "these guys are kind of breaking the mold, or at least mildly leaning against the envelope, and they have a good message - FIVE STARS!" But, then, for their own personal listening enjoyment, they'll never go back and listen to that song again. Like, when I say I love "Ain't No Half Steppin'," I mean I have played that song a million bajillion times over the years, I drive around playing it and rapping the lyrics along with it. And while I don't love every song I give props to on this blog to the same degree I love a real classic like "Ain't No Half Steppin'," I do want to say that if I say I like something on here, I like it more than in that hypothetical, disposable way that seems to be prevalent. That's why you don't see me getting hyped about a new kid every other week and then forgetting about them like so many other blogs... I'm talking about the shit I'm really listening to.

So, that was a long way to go to say this. I'd never heard of Glitch Mouth until I was hit off with this tape. But now I'm telling you this is good to the point where I will definitely be playing this tape more after I hit "Publish" on today's post. And I'm going to be googling around and checking out their older releases, too.

Only one song falls short for me: "Understanding." It's got an interesting enough sound - one of the base samples is a piano riff that reminds me of the Valentina theme song (which I like 'cause I'm a weirdo), and Snowbunny sounds great when they fade her up out of the background. But lyrically, it's a relationship song by somebody who doesn't sound mature enough to be writing relationship songs; so you get lines like, "I never could believe she'd be the one to do me greasy; I couldn't see the writing on the wall... in graffiti, sayin', 'leave, G.' You see, to me, she's even more dreamy than a genie." And seeing that written out, you might think that's not so bad for a silly, pop-rap kind of song like "Party Line" or something, but he's delivering it all in a tragic melancholy "Never Seen a Man Cry Until I Seen a Man Die" tone. But that song's the only weak link.

And yes, I do keep referring to this as a cassette tape. Naturally, it's available in the generic, digital way from all the usual sources. But there's also this limited edition cassette release, which not only features all the songs as the online version, but also has all the instrumentals exclusively on the B-side plus two more bonus instrumental songs. And it's only five bucks, so I seriously recommend heading over to their bandcamp and copping it before it becomes just another mp3-only release; I think you'll be surprised. I'm genuinely glad to have my copy.

Saturday, November 29, 2014

Last Demo Week, I set aside one Day for a completely unknown artist, and it's tat time again. The group is called Fertile Crescent... at least I assume it's more than one guy, but I can't really say for sure. But I'll tell you one thing, I'm feeling this substantially more than last Demo Week's unknown demo; and as I said in my last post, better than Day 4's demo. Hell, I'm feeling this tape more than most albums, period. This is actually pretty great.

Pretty much what you see in the photo is all the info I have on this one. On the tape itself, underneath "Fertile Crescent," it also says "sampler." No date (though I know I picked this up in the late 90s), no label, no phone number with a helpful area code. Just the fact that this is, like any demo, meant to represent a varied sample of the kind of music these guys were making.

BUT, thanks to a couple of the guest artists on this tape, I was able to gleen quite a lot about it, though. Evidently, this is some Pittsburgh shit. That first guy, Davu Ayomi, is a Pittsburgh graff writer and he's described as a slam poet online. But he just rappity raps on here (thank goodness). He blends in perfectly with FC, to the point where I can't even tell which verse is his. And Rhesun a.k.a. Sha-King Ce'hum? He's from the Classic 1824 crew; and he's actually still active - he put out a mix-tape as recently as 2010. It could very well be that Fertile Crescent were part of 1924, or at least a directly connected off-shoot. They certainly have a similar sound and seem to share artistic ideologies.The other guests I don't know; but I can tell you Anna Kalantari is an actual female MC, not a hook singer; and she comes off really well. And Stretch, I dunno; he didn't stand out at all; but that's a good thing when working with artists of this caliber.

So if you like Classic 1824, I'd say this will definitely be up your alley. I mean, I actually liked this a little better than some 1824 tapes I heard... Or, at least, you'd really have to break down the comparison song-by-song. FC definitely has some songs that are stronger, but the reverse is also true.

And if, like most of the world, you've never heard Classic 1824? Because that's actually a pretty obscure, underground reference to expect people to get. I know about them myself because some Pittsburgh guys went to a lot of trouble to document a lot of that history online, including interviews and tape uploads, several years ago. Unfortunately, I think their site's dead now. :/

Well, then, I think they can be best described as a group that completely lives up to the backpacker, underground intelligentsia of hip-hop that most indie groups talked about but never managed to live. it's definitely heady stuff, but despite a couple science fiction related titles ("2001 Space Odyssey" and I'm sure "Strange Days" is meant to reference James Cameron's goofy little sci-fi flick from the 90s), it's not just a bunch of nerdy comic book references strung together. It's real, substantive, and grounded in reality. And unlike a lot of their contemporaries, their stuff has aged well.

And the production is great, too. East coast, indie sounding... think Rebel Alliance, with some nice samples you haven't heard other places. The low budget does show through a bit. I'm sure a major label could've polished a lot and beefed up a few thin moments. But that indie vibe helps as often as it hinders. The only thing they're lacking is some sick Skratch Piklz-style DJ to just go berserk on the turntables at the end of every song. It certainly would've sounded right at home amidst this material.

I really want to give this a strong endorsement and recommend everybody seek it out, except, frustratingly, it's Demo Week. Hard to find is one thing, but this shit's never been released in any public capacity as far as I know. And googling around, I can't find a damn thing about these guys or what's come of them (it doesn't help that "fertile crescent" is a ore-existing phrase, referring tot he area of Africa generally considered to be the "cradle of civilization," so it generates tons and tons of hits that have nothing to do with Pittsburgh rap). So I don't know what I can do here but hope maybe somebody who knows more about these guys, or the artists themselves, might possibly come forward and let the world in on the music they've created by releasing it on the indie tip or something. Anything.

Anyway, a lot of my "Weeks" end on Day 5, but not this one. I'll be coming back one more time, with a known group, and in video so you guys can hear it. It's a group I'm quite fond of, have blogged about a couple times before, and backed by a very major hip-hop producer. Ciao!

Thursday, November 27, 2014

I was going to feature today's demo(s) back in Demo Week 1, but it was so much to get a grasp on, I just let it slide. But this year, I'm going to tackle it. So here we go!

There was a 90s group out of Waco, Texas called Third Eye Militia. They were kinda like the Visionaries in the sense that it was a group that put out albums (well, one album, called Buried Alive, in 1999). But the membership also comprised smaller, sub-groups, who unlike the Visionaries, never put out any records. They collectively released a 12" single, which I've got, called "The Family" in 1998. The two B-sides of that, "Symbolic Seeds" and "Verbal Elements," focus on two of the Militia's subgroups, Symbolic Elementz and Verbal Seed. Notice how they switched up the words there? That's either slightly clever or arbitrarily and annoyingly confusing depending how generous you're feeling.

Still with me? Here, let me break down the full Militia line-up, maybe that'll help. You had Symbolyc Elementz, which was a sub-group consisting of Tha Symbolyc One and Myth, Verbal Seed, a sub-group consisting of brothers Oneself and Focus, plus solo members Mony Mone and Buttafinga. All six of those guys are MCs, but at least three of them (One Self, Symbolyc One and Buttafinga) also produce. Oh, also Verbal Seed later added another guy named Tree, who was also brothers with Oneself and Focus. And the two guys from Symbolyc Elementz later added a guy from Indiana named Myone, and changed their name to Strange Fruit Project, a group you may've heard of since they've had a number of albums and 12" singles out over the years, and I believe are still recording together to this day. Symbolyc One also released a couple solo albums in the 2000s, and a collaborative album with Braille. Symbolic went on to sign with G.O.O.D. Music, as S1, and shared a Grammy for co-producing "Power," so the line goes from real obscure to major. And the Militia also have, or have had, a strong internet presence over the years, so there's a whole bunch of mp3-only songs, albums and mixtapes scattered around from all these guys, collectively and separately, if you're keen to dig around.

Now, in addition to the album and 12" which were released commercially - albeit underground and independently - I've also got a demo CD by the Third Eye Militia. It includes "Symbolyc Seedz," which is a different spelling but the same song as the one on the 12", and a song called "Anytime, Anyplace," which was included on the Buried Alive album. For the record, so were "Symbolyc Seedz" and "The Family," but not "Verbal Elements," which was exclusive to the 12".

That sounds like a Day 1.5 post, right? Just a little demo featuring songs already available on existing releases. But I'm just throwing that in there 'cause it's an interesting little item I've come across. We haven't even gotten to the demo I'm here to cover today. See, before all of this '98/'99 stuff, one of the Militia's sub-groups, Symbolic Elementz, got featured in The Source's 'Unsigned Hype' column of May '96. Reading that column, I don't seem to have the songs they're writing about ("Style of the Godz," "Mental Ejaculation" or the particularly promising "Acrobatmatics"). But I DO have a Symbolic Elementz demo tape from 1997 called The Dynasty. It features three different songs, all produced by fellow Militia member Buttafinger.

Wow! We finally made it to today's demo! Unfortunately, we're all out of space - so, goodnight!

Just kidding. Actually, this is an interesting mix of styles: Southern, gangsta-rap inspired tracks with backpacker lyrical inspirations. But it's not just that; it's much more fluid and intangible. There's elements of Dre's Aftermath on here... Suave House... Supafriendz. Especially the low budget feel from that last one. Being a 90s project, the punchlines get a little corny ("can you take me away like Calgon?"); but for the most part it's well-rounded and effective. The production on "Temptation Got Me Hostage" "What Dreams Are Made Of" is understated but really effective. The dynamic between the two MCs passing the mic is strong and lively. It almost feels beneath them when they bring the lyrics back to "sucker MCs."

It is all a little too polished and smooth for my tastes, though. It sounds like the kind of thing record labels like more than the actual man on the street. Like the one Supafriendz aspect its really missing is the fun. This is good music with little to criticize about it, but I can't honestly say this is a tape I go back to revisit much. Maybe it's too middle of the road, style-wise; instead of being a jack of all trades they should settle on being a master of one. You can certainly see why these guys have had a long career, but but it'll be fun to contrast with tomorrow's demo, which I like a lot better; but it didn't seem to get them careers...

Wednesday, November 26, 2014

Today's demo is a full, unreleased album by the Mau Mau Clan. Now, this isn't to be confused with the Mau Maus, that brief "super group" consisting of Mos Def, MC Serch, Charli Baltimore, Canibusand whoever else. That was a one--off for a Spike Lee soundtrack. It's also no connection to the contemporary punk band, The Mau Maus, the German new wave band from he 80s called Mau Mau, the electronic artist Mau Mau who releases records on Mau Mau Records, DJ Mau Mau, the UK punk band from the 80s known as The Mau Maus, the Italian funk band Mau Mau, Mau Mau Productions, the reggae band Mau Mau from Jamaica, the African rapper Mau-Mau, or the Brazilian funk singer Mau Mau. It's also not any winners of the Most Original Band Name competition, obviously.* But it is connected to a preexisting "Mau Mau" group you might remember: The Mau-Mau Clan Overlords - it turns out they have a whole, unreleased album!

Who? Gentlemen, please cast your recollections back to the album on your left: The House That Rap Built, by Hurby's Machine. In other words, the producer album by Hurby Luv Bug back in 1987, when his groups like Salt-N-Pepa and Kid 'N' Playwere just starting. Antoinette had some dope songs on there, and also, uh... a bunch of groups who never went on to do anything else. Including the Mau Mau Clan Overlords. Or so we all thought; but it turns out they came back, or tried to. Is that a good thing? I think so, yeah! Most of that album was fresh, and not as pop rap or corny as you might expect based on some of Hurby's later output. I mean, "Just Go" by Future Shock is, but not the rest of the LP. The Overlords had two solid songs on there, including the title cut and a stronger joint called "Contact Sport." And I think this lost album shows they were capable of substantially more.

For one thing, this album is widely diverse. I think it was meant more as a showcase of the variety of songs they could potentially deliver if a label signed them, rather than an album meant to be released as is. There's an upbeat love song, a track dissing girls, there's a Kid 'N' Play-style dance song that freaks "Got To Be Real," rougher freestyle tracks, even a song called "Uncle Tomic Bomb" that... lives up to its name. It all sounds rich and really well produced, thanks in small part to the fact that Hurby Luv Bug and The Invincibles clearly worked on this project. Steevee-O, the other guy on the Hurby's Machine cover, gets shouted out more than Hurby, but they both do. So while there's no liner notes with this tape unfortunately, I'm convinced they both produced for this.

There are also some guests... a reggae guy chats no a couple hooks, a pair of female MCs (not Salt-N-Pepa, but maybe None-Stop[sic]?) do a little back and forth with the Overlords, and Hallelujah, the Fifth is here! Yeah, "Mischievous" is a fun song greatly bolstered by a collaboration with The Fifth Platoon, who once again sound great. I have to admit, I would've rather found a lost Fifth Platoon album than Mau Mau Clan one, but this is good too, really. I'm really surprised these guys never came out, because clearly the Invincibles made spent some serious time and effort into making this project. I mean, if the album were to come out, I could imagine some of the edgier songs like "Da Niggaz Are Comin'" would've gotten cut off (which would've been a shame, 'cause that's a hot one). But some of these songs could've been singles and handed directly to MTV.

I mean, some songs are better than others, and a few are corny (the hook for one song is sung, "I can't front on my girl, 'cause she knows how to do me")\, just like you'd find on most Invincibles' albums from that period. And by that period, I'm guessing... 1991? That song with the Fifth Platoon has a real Leaders Of the New School vibe, in no small part to the fact that they sample Busta's line from "Case Of the PTA" for the hook. So it has to be at least that new.

I mean, look, this is an Invincibles crew album. if you don't like records by groups like Kid N Play, Joeski Love orDana Dane, you're not gonna like this. This tape's a little more rugged than Joeski's, but this ain't no "Shook Ones." But if you enjoy any of those albums, especially from that 1990-1991 period, this is good shit. And again, it's really surprising this all stayed shelved and unheard.

It's also a bit odd that this is so many years after The House That Rap Built. Like, they never came out in all that time, but Hurby still kept working with 'em? I was searching around online, though, and I noticed that the Mau Mau Clan are credited with background vocals on Salt-N-Pepa's Very Necessary album. So I'm guessing after Hurby's Machine, they just stayed in the background, working with the Invincibles behind the scenes rather than as recording artists. And these guys are fine as commercial rappers, but they're not ill MCs, so maybe they got into the industry right where they fit in and it all shook out right. But it just goes to show... we have no idea what music is out there that we'll never hear.

*If you're wondering why so many groups would all choose to call themselves the same, unusual thing; it's all in the name's origins. The Mau Muas were a small, African militant group that formed to fight colonialism in the 1950s. Just read the wiki. So you can see why it'd make a pretty great name for a group... Except, dammit people, the name's been taken!

Sunday, November 23, 2014

How about a strictly instrumental demo? We haven't had one of those before! Well, here's one from Gizmo, one half of the famed duo The Audio Two, of course. We all know what happened to Milk Dee after the pair failed to release their mysterious third album, First Dead Indian - he signed to American Records and released a pretty nice EP which featured Ad Rock of the Beastie Boys. Then in the 2000s, he started working with random guys like Eamon and Jason Downs, and he cameo'd on that 50 Cent remake of his.

But Giz? I mean, you'll see him continue to rack up some credits on sites like discogs; but that's just because people can't stop sampling "Top Billin'." But for actually doing new work, I don't think he's done anything since the days of the Two. Where'd he go?

This tape answers that question, at least to a fair degree. He was at least shopping himself as a producer with this tape of his own beats sent out in 1998.

If look closely at the photo, you'll see this tape is ostensibly divided into two sections: Hip-Hop on side 1 and R&B and Hip-Hop on side 2. In fact, side 1 is full of hip-hop beats, over a dozen. And side 2 just has 4 beats, only one of which sounds like it's meant for R&B. I mean, maybe he had ideas of someone singing over one or two of the others - after all, he positively invented the penultimate R&B-singer-over-a-hip-hop-beat track. But only one has the cheerful, soft, only Raven Symone wound be down with this keyboard riff on it. The rest are all pretty dark and clunky.

And how are all these beats? Certainly professionally crafted. There's not a lot of samples, or if there are, they've been filtered to the point of sounding like studio-created sounds, which is what most of them probably are. There's an MC Lute vocal loop on one track to make you feel at home with the Giz you know. But none of it sounds like their classic records; it's clearly meant to have a modern vibe, and is trying to fit in rather than stand out. If I were a label head, this tape would tell me that Giz is a pro, and I might hire him for some in-house work; but I certainly wouldn't go into a bidding war for any of these beats like "my artist needs this!" In other words, Ras Kass wouldn't have to worry about Jadakiss stealing any of this music from him - there's no makings of a hit here.

And as a fan, I can't say I'm bothered than this work wasn't capitalized on and made into full songs. It's like ah, okay, so that's what Giz was up to in 1998. But the world hasn't missed out on any masterpieces.

As you can see, Tracks From Giz came with a business card. "You can ask Giz" is of course a line from "Top Billin'." His production company listed there, Gee Off Productions, is the label Lyte credited for her song "Wonder Years" a couple years ago, so he's clearly still using that. All in all, a pretty interesting little find. Not one that needs to be rescued and delivered to the fans, per se; but a cool one to learn about. And tomorrow we'll get back into full-length demo albums, complete with vocals. :)

Saturday, November 22, 2014

Last Demo Week had a Day 1.5, and so too does this one. Like last time, Day 1.5 is for a minor, disappointing demo, that just barely is maybe worth telling people about, but really isn't compelling enough to warrant a proper "Day." And today's entry receives the .5 status for pretty much the same recent the original did: all the songs on it wound up getting released commercially. So whoop-de-doo, right? But, still, it could be an interesting artifact, especially for serious fans of the artist, so let's have our .5.

It's Deadly Venoms! As in the official, all-girl sub-set of the Wu-Tang Clan. I got this tape during my time at The Source, and it represents the time after their first indie 12", which was really good and had people excited about the prospect of Deadly Venoms... and their eventual major label releases, which weren't terrible but pretty much let the air out of the world's collective enthusiasm. And this is a tape of seven songs from when they were still shopping for a major label home to follow up that 12". All songs that quickly found their way onto their A&M Records album, The Antidote.

Now, granted, The Antidote was pretty much shelved and "lost," making these songs still unreleased. But there were promo copies released, and of course it was all leaked onto the internet. And all of those promo copies, etc were of the full LP, not just these seven songs. It's interesting to see which seven songs they had prepared first, and which were made later... and this tape was nice to have before any of their stuff came out.

But I've listened through it plenty (for a while, it's all that was available, after all) and none of the songs are any different than the ones every Wu fan who cares enough has heard. I remember when I first went back to this tape after the full-album leaked online decades ago, hoping to find some lost LinQue verse that was edited out from the final retail version, or a different beat or an extended intro or anything. But nope. A few of the titles are slightly different; "D-Evils" here is simply "Evils." But that's it. Nothing special.

So there ya go. Check out the photo posted above, and you've probably extracted all their value there is from this tape. But check back for Day 2 and I'll have something meatier again.

Tuesday, November 18, 2014

I was digging through my old tapes (you'll see why on this blog soon) and came across this neat little gem I'd manage to nearly forget about: The Bizarro Theory EP by Kram Neves, The Evil Twin. Kram had originally come out as Mark7, but when Mark Seven started blowing up with the rest of the Jurassic 5, he changed his name (read it backwards). I assume the "bizarro theory" title is at least partially in reference to that.

This came out in 1997 on INRPOL (like "interpol?") Records; and at eleven songs deep, you might think this is more of an LP than an EP. But just about every other song is actually a skit. That might sound annoying, but these aren't your usual blah blah blah can't-skip-it-fast-enough album skit. They're musical skits, or at least crazy DJ vocal samples, full of crazy snippets, including lot of super hero themed vocal clips that are responsible for a good portion of this tape's fun vibes. They tie all the songs together, often serving as thematic introductions to the proper songs to follow.

Kram has a slightly unusual style, just enough match the sonic landscape his producers and DJs (unfortunately, there are no production credits on the J-card) hooked up for him, but not enough to sound goofy or distractingly weird. It definitely sounds underground - you could never imagine this sort of stuff becoming a Top 40 Rap charter; but if you like that underground, semi-intellectual, creative west coast 90s music, then this'll be a great time.

You've got a lot of basic freestyle, slightly battle tinged rhymes, and a handful of cool guests including Zen (of The Visionaries' Writers Block), Droop Capone aka Dr. Oop and Fletch the Praymantis, who I don't know but comes off well. You know, they're those kind of west coast but not quite as artsy as the full-on Project Blowed types.

And when he does dip into "concept" songs, there's a cool old school hip-hop feel to the whole thing. "D.E.F.E.C.T." samples the bit where Wize starts singing John Denver's "Leaving On a Jet Plane" on Stetsasonic's "Faye" for a hook. And "In the Dark" (taking its title froma line of MC Shan's "The Bridge") and "Side Show Strugglas" are cool, smart reflections on the past and current (well, for 1997) state of hip-hop, respectively. It lends the proceedings a nice purist appeal.

On the one hand, it's disappointing Kram didn't put out more material back in the day. You might remember him from a couple strong guest spots, including Tony da Skitzo's South West Co Lab compilation. But most of his releases, including this one, are so rare, that he never even got the limited recognition as the obscure indie rapper from the 90s that he deserved. ...But, on the other hand, dude is still around today; and you can find him on myspace, facebook, twitter etc. Granted, those links don't show him to be the most active or prolific MC you'll come across online, but he has got new material out there, like this song from 2011, and he's also keeping his old music alive, too. I just ran across a couple songs from this tape on CDBaby.

Thursday, November 13, 2014

In some ways, this is The Sugarhill Gang's last record. Strictly speaking, it's not the last record released under the Sugarhill Gang monicker. I mean, even if you discount all those represses, compilations and foreign remixes, there were a couple more singles on released by the group in 1985, the year after this one. But by those '85 records, Kory O had already come in and replaced Master Gee. And of course, for their 1994 record, Joey Robinson had inserted himself into the group, making the famous trio a quartet. So "Troy" was the last new record released by the full, original trio.

And it's one of their best. By 1984, both the Sugarhills - the Gang and the Records - were no longer the hip, new thing in hip-hop. The next generation was taking over the genre and all the guys were breaking up and/or out. Melle Mel split fromGrandmaster Flash, The Treacherous Threebroke up and Kool Moe Dee reinvented himself as a solo artist on Jive, The Sequence broke up, etc etc. The records were no longer selling; it was over for those guys. So, no matter how good a record the Sugarhill Gang made at that point, it was going to get slept on. It's just unfortunate timing that they took so long to create "Troy."

One thing to note is the production credits on the label. Yeah, Sylvia Robinson gets credit, of course. But then you'll see that the first three producers' credits are actually the three members of the Gang themselves. The timing was bad commercially, but the good thing about this being later in their career is that they were given more artistic freedom to follow more of their own creative drive. And they used that to make possibly their most socially conscious record (you could say it's neck and neck with "Living In the Fast Lane," which they released that same year), and absolutely their darkest. It's certainly unique and different enough, but in some ways, you could certainly say that this is their "The Message." Even their voices sound like they're channeling some Melle Mel.

The Gang got into some more traditional/modern hip-hop style production by creating the beat using the core elements of Malcolm McLaren's "Buffalo Gals," but stripping the upbeat and silly stuff and replacing it with moody instrumentation. The opening keyboards remind me of "Thriller" more than anything. And then it gets a little more rock-ish and upbeat towards the end. There are still live band members playing on this track, but there's also a super 80's drum machine, electric guitars and police sirens. It's a real hybrid of an instrumental, which I think works in its favor. It can't be called "too disco-y" like their earlier records, or too mechanical and programmed like a lot of mid 80s stuff. It's a very alive, slightly unusual mash-up.

Big Bank Hank sets the stage with a narrative about a vicious, nighttime gang fight. He might not've been a writer like the other two, but his voice and delivery are top shelf and he really dominates this record, "the leader called Blade still standing tall, his shadow cast big on the bloody wall. He faced the death with the life he chose, and his sweat ran thick to drench his clothes. He rules the street with an iron claw; and everybody knows that his word is law." Like, holy shit, this is coming from the Sugarhill Gang? The second verse details a nightmare Blade has of getting shot dead in the streets; it's some pretty seriously evocative stuff.

Well, as I said, the song does take a more positive turn. Blade decides to focus on break-dancing as a way out of the ghetto, and soon this song starts to feel more like Melle Mel's "Beat Street" than "Message." But both are great songs, so there's nothing wrong with that. And this song doesn't just take the easy way out to a happy ending, as it comes back from the breakdown to tell us, "Blade tried hard to become a break dancer; just couldn't cut it so it couldn't be the answer." And when the story finally does get to his moment of triumph, just listen to the Gang's performances: their rapping is intense, they sound like an entirely different group than the guy's who brought you "Rapper's Delight." Like, I think that last verse is by Wonder Mike but honestly I'm not even sure because he's on such a different, harder vibe.

Unfortunately, the B-side is perhaps the Gang's worst and corniest. It's "Girls" with short, almost embarrassing rap verses lightly peppered between an admittedly catchy chorus that dominates the song. It's based, heavily, on a 70s funk song, also called "Girls." Craig G made a version of it, too, called "Girl Fever" on his second album, and Ultimate Force had a "Girls," too. It's a super catchy hook and instrumental riff, and so in that regard all those songs do work to some degree. But again, particularly on the this Sugarhill Gang version right here, the shit is so corny. In fact, I think at least some of their raps are literally the actual lines that were sung in the original version, just turned into short raps here. So, I suppose at least some of the fault in the writing can be kicked back to the original group. But where ever you choose to lay the blame, "hey, well I tried to swim the whole ocean, just to see the girls in motion. When they were those black mesh stockin's, my heart goes a tick-a-tockin',""even ones that ain't good lookin', they're the ones that do the best cookin'," or "I wish I was a magician, so I could start with this wishin'," are fairly cringe-worthy. Especially with the over-the-top, cheery enthusiasm they deliver them all.

But I still whole-heartedly recommend this single, especially if you only know the Gang for one song. This one might change your mind about their artistic credibility and the longevity they had to offer if hip-hop wasn't unfortunately as ruled by trends. I'd even suggest their whole last album, Livin' In the Fast Lane, for serious listeners. Songs like "Space Race" and the afore-mentioned title track will probably surprise you. But "Troy" is the real essential. It's the stand-out on the album for sure, and one of their best singles over-all, so if you're at all appreciative of rap from this era, you should really check out this 12".

Saturday, November 8, 2014

Mystikal kinda came out like E-40 and The Click, in that they all had indie albums first, and then they signed to Jive who re-released them with bonus tracks. Except it Mystikal's album, they also retitled it, so Mystikal and Mind of Mystikal looked like two different albums, messing with consumers when really they were the same.

Anyway, "Beware" is Mystikal's third single, and second through Jive, and his best from that era. His pre-Jive single, "I'm Not That Nigga" came the closest. "Y'All Ain't Ready Yet" had Mystikal rhyming over a "Flavor In Ya Ear" knock-off track and forcing a lot of silly pop culture references into his verses: doing an impression of Urkel ("did I do thaaaat?") and making his most memorable rhyme the contrived pairing of "b-i-e-otch" and the children's clothing brand Osh Kosh B'Gosh. And "Out That Boot Camp Clicc" was his prerequisite weed carrier posse cut that had no business being a single.

"Beware" features some sort of dark but still pretty funky and catchy production by his regular producer in those days, Precise. It reminds me of something Rap-A-Lot would've put out in their post-Ready Red period. It's also the first single that was actually produced for Jive, as opposed to being taken off the original, indie version of the album.

And perhaps most importantly, Mystikal tones down the silly Fu-Shnickens shit I was talking about, shouting "damn, Gina!" like Martin or that goofy Michael Jackson impression. Instead, he uses his distinctive delivery, which is after all what makes Mystikal Mystikal, to turn really simple lines like "I'm hard as an armadillo" personal and great. It helps that this is ostensibly a diss record (apparently this song triggered UNLV's Mystikal diss, "Drag Em 'N' tha River," but everything in "Beware" is pretty generic and could apply to any ubiquitous you), so he's making more of an effort to come off fierce.

I mean there's still too many bad similes and pop culture references ("mild mannered like Clark Kent... evil like Cruella"), but at least those are all buried in his tongue-twisty style where they're hard to even make out, as opposed to the ones in "Y'all Ain't Ready" which he cuts the music out for and shouts or sings, effectively clearing the stage to swing a huge spotlight on 'em. He only did THAT once on "Beware," with his infamous Captain Caveman impression. Of course, that kind of song writing has aged terribly, but even at the time, "Y'all Ain't Ready" lost serious points for being corny. You could tell he was just a little too young yet to really have come into his own.

The B-side is "Here I Go" which is another decent album track and Jive exclusive. The track (also by Precise) is just more boring. That three note bassline starts out effective but winds up feeling plodding and redundant pretty fast. There's just not enough variation, so Mystikal almost feels like he's just freestyling over a quick loop rather than recording a proper song.

Overall though, it's a solid single, especially the A-side, thanks primarily to Mystikal's original and impassioned New-Orleans-to-the-nth-degree style. But it really feels like this is just the beginning to something greater than never quite happened. I believe if Mystikal had a top producer and a little career/ song-writing guidance, he could've been a respected hip-hop giant right alongside guys like Redman and Meth. And as it is, it's not like he's some forgotten nobody. He certainly has fans, a long string of albums to his name, and even a Grammy nomination (for Tarantula); but of course he went with No Limit, and I think he did a lot more for them and they did for him. And now he has to take sole responsibility for any troubles his career has had more recently (i.e. abusing women and going to prison for it).

Thursday, November 6, 2014

So, the Jungle Brothers were signed to Warner Brothers. Their first album was in 1988, their second was in 1989, and their third ...wasn't until 1993. Why'd it take so long? Well, the Brothers had actually finished their album, called Crazy Wisdom Masters, and were prepared to release it in 1992. They wanted to shake things up and do something different, and instead of working with any of the big0-time producers you might expect, they worked with rock guys David Williams (of The Vomit Pigs) and Bill Laswell, plus an up and coming rapper/producer named Torture, who became better known shortly after as Sensational. The album was so wild and unorthodox that, when Warner Brothers heard it they said hell no, we can't release that! So they made the JB's re-record the entire album, and that became The J. Beez Wit the Remedy, which was kind of a flop and their last album for Warners. Even personally, I'd recommend picking up the single "40 Below Trooper" but leave the rest for the enthusiasts.

Well, because Sensational rapped on the one well-regarded single, he generated enough of a buzz to get signed to the indie label WordSound, where he released a whole line of budget albums, and even a couple singles on Matador. And in 1999, he and WordSound dropped a little 10" vinyl EP by a group called the Crazy Wisdom Masters on their subsidiary, Black Hoodz. Hey, you might say, isn't that the name of the Jungle Brothers unreleased album? Why, yes! In fact, this was a four-(or five-, depending how you choose to count it; but I'll explain that in a bit) song EP of lost tracks from the shelved Crazy Wisdom Masters album.

Two (or three) of these songs we've heard before, on J. Beez Wit the Remedy, but in a different form. And the other two songs are totally unheard tracks. And why this two/three four/five song count? Well, on the Warner Brothers album, you had two songs in a row, called "JB's Comin' Through" (which was a short minute and a half) and "Spittin' Wicked Randomness;" while, on the Black Hoodz EP, both those songs are combined into one longer song, just called "Spittin' Wicked Randomness." So you decide how many songs that is.By the way, I've seen this EP referred to as The Payback EP just about everywhere online (and even, as you can see in my pic, on the price tag of my copy). But that title isn't anywhere on the label or the artwork, so I'm not really sure where that comes from.The big question, after waiting six years to finally hear the Crazy Wisdom Masters, is how is this stuff? It's basically... very busy. Like tons of samples on top of each other. And they sometimes do that thing where the vocals are filtered to the point where they sound like they were recorded over a telephone line. Sensational once explained that he went by the name Torture because people always said listening to his music, with its broken and frenetic break-beats and disparate sounds was like torture. So as you can imagine, then, the style isn't necessarily a good thing.

"Battle Show" has a live feel, with fast drums and a ton of percussive sounds and squeaks. Sensational takes the mic again, and if they're not exactly kicking battle rhymes, they're at least tough freestyle verses. "Ra Ra Kid," which sounds like it should be titled "Ra Ra Caper" based on the chorus, starts off sounding a little more down to earth, but as the song goes on, it features more and more sounds coming and out of the track until it eventually culminates in a complete overload.

One issue I had, is with the instrumental sounding sort of "advanced," even if we're letting busy standing in for avant garde, the JB's lyrics feel especially pedestrian. Sensational, who's not an especially amazing lyricist himself, sounds more at home over these tracks than the JBs themselves, who feel like they're getting left behind. It both helps and hurts them that the tracks are so loud and the mics questionably mixed, that it's hard to follow their raps.

"Spittin Wicked
Randomness" and "Hedz At Kompany Z" - or "For the Headz At Company Z" as it was called originally - actually... sound a lot like they did on the Warner Brothers
release. In fact, if you think about it, the whole chaotic vibe of The Payback EP is already what the Remedy
album was kind of known for. If you didn't like the Remedy album, you
probably dismissed it as being "weird" and "noisy." So it's not so much
that the JB's went in a completely new direction for their remake; they
just smoothed it out a bit. And here on these two tracks, they don't even sound un-smoothed out, they
sound like the same damn songs.

And that's weird because, fun fact: the entire shelved Crazy Wisdom Masters album was eventually leaked online. So I've heard the rest of it. And not all the songs that have been carried over sound the same like these two. For example, "Troopin' On the Down Low" sounds remarkably different than "40 Below Trooper." It's actually worse, but at least it's totally different and would sound like you'd gotten something new with this EP. I honestly can't even tell you the difference between the "Kompany Z"s besides the titles. It sounds like all the same samples brought in and used the same ways to me.

So do I recommend this EP? It's alright. You're basically getting two early 90's Jungle Brothers and Sensational songs which are pretty good. It's certainly cool that these songs got released, considering how badly some fans (especially Bill Laswell fans, apparently) have wanted to hear it. Overall, comparing the full leaked album to the official release, I do think it was mostly superior. "40 Below Trooper" improved for J Beez, but overall Crazy Wisdom works better. It's got more energy and gets a stronger grip on your attention. I still don't know that it would've gone over that well commercially, or even stand up to their first two albums; but it would probably be better regarded than the compromise we got, and it would probably enjoy a sort of Paul's Boutique reputation among production nerds who really like that rock stuff.

To bring it back to the EP itself, it comes in a plastic bag with generic label art and a sticker cover. The label never mentions that the CWMs are the JBs, even in their official press release, which makes me think they were trying to slip this out under the label's radar. I'm lukewarm on the music - it's good but not amazing - but I'm very pleased about the release in that this got released at all. And while I'm not a fan of toy records, a 10" at least trumps a 7"; so overall this is a pretty neat pick-up, especially for those heads with an eye for our genre's history.

Update 1/8/14: I forgot I wanted to tag the story with this interesting link. CWM producer David Williams made a kickstarter a couple years ago (which didn't get funded) where he was going to reunite with the Jungle Brothers to record three(!) new albums. One was going to be "a more 'commercial,' Native Tongues-style Jungle Brothers album, a more 'out,' Crazy Wisdom Masters/Jay Beez Wit' Da Remedy-style advanced hiphop record, and......a 120+bpm club banger album that starts with the hiphouse style of 'I'll House You' and updates and advances it to the current state of the art and beyond." So the spirit of the Crazy Wisdom Masters endures, even if it doesn't get a lot of money behind it.

Tuesday, November 4, 2014

I first found out about this record in 2009. And I just finally got a copy today. It's a very bootleggy white label 12" that features the two most prominent, as yet officially unreleased Natural Elements demo tracks. It's also a split 12", and those NE tracks are on the B-side. So since I want to give thorough coverage to every record I write about, let me just go over the A-side real quick before we get to the juicy stuff.

The A-side features two songs by Truck Turner, an indie artist named after an Isaac Hayes blaxploitation flick who came out under Krs One's wing and wound up signing to Jive. In fact, it's an exact copy of his first, indie 12" [see: left]. The first track, "Bring It To the Cypher (Main Mix)," is exactly the same as the original A-side, "Cypher Street," and the second track, "Can I Bitch (Main Mix)," is of course that 12"'s B-side, "CanIBitch." "Cypher" is a cool duet with Krs One over a traditional old school Kraftwerk sample, that's been used by everybody from Afrika Bambaataa to Dr. Dre; but it's usage here sounds the most like Kool G Rap & DJ Polo's "Rhymes I Express."

And the second song, or the B-side on the original 12", is Truck going at Canibusjust as he was coming up, presumably to cash in on the attention and controversy he was generating for beefing with LL Cool J and others; but in the song he claims he's "striking back" because Canibus said something about BDP. It's not a particularly effective diss track at any rate, Canibus certainly never bothered to respond, and he's the guy who's recorded eleven hundred songs at Eminem, desperately trying to get just one answer record's worth of publicity back. It's moderately interesting, though, that one of the lines in the song is, "look both ways before you cross me," which four years later became the title of his album.

Despite this white label referring to its songs as "(Main Mix)"es, neither record features any other version or mix of the two songs. They're both the full, vocal and uncensored mixes. And comparing the sound quality, there's really no discernible difference, except the pitch is a little slower on the bootleg. I've heard it described as being bassy, but I think that's just because it's playing a little slower, so all the voices and beats sound a bit deeper. If you've got a turntable with pitch control, you can make them sound identical. And while the difference doesn't exactly take a trained ear to detect, you probably wouldn't notice it's slower unless you were directly comparing the two versions like I've just been doing.

I wanted to pay careful attention to the sound quality there because we're going to be a lot more concerned with it now that we've gotten to the songs on the B-side.

Now, I've mentioned in my write-ups of Chopped Herring's EPs that these two songs were as yet unreleased and would look nice on one of their Lost Demos EPs. But this 12" is probably at least part of the reason the gas hasn't bit hit so hard to get them out there. They're already on vinyl and sound fine.

First up is 'Life Ain't Fair (Main Mix)." Yeah, they keep up that "Main Mix" thing on the NE side, but this time the "Main Mix" moniker might inadvertently mean something. Because, as you'll recall, while "Life Ain't Fair" dates all the way back to my old Natural Elements snippet tape from early in their career. it's only full release has been on Chopped Herring's The Lost Demos EP Vol. 1, where it was included as a very different "Original Mix" in 2011. That version was quite different with a tough, hip-hop beat and alternate hook compared to the one I'd heard a portion of on my tape. Well, I'm happy to report that this white label gives us that missing version, the smoother one with the R&B chorus sung by a guy named Bridge.

And the other song is "Knick Knack!" Erm, "(Main Mix)." Yeah, the song that's been floating around, often split into two tracks, ever since the old tape trading days. The one where they rock EPMD & K-Solo's classic, throwing their skillful, modern flows over the old school's banging track. The fan favorite that had never been released.

And the NE tracks sound just as good as the Truck Turners. You might want to pitch it up a percent or two (it's harder to say since I don't have a mirror image 12" to compare the NE side to), but otherwise it sounds more than acceptable. There's no tape hiss or distorted bass, volume issues or any of the other problems that often plague bootlegs. If Chopped Herring got their hands on the original masters, could they make it sound better? Probably a little. And of course that hypothetical release would be an official, legit record that the artists would get paid off of and all. But honestly, this sounds just fine, as good as many legit releases. I certainly wasn't expecting something of this quality.

Of course, you'll have to find a copy. Remember how I said I heard about it in 2009 and got my hands on one in 2014? Granted, I passed up an opportunity or two to pay crazy high prices for it during that time, but still. This record is definitely not abounding and plentiful. But is it worth it for the serious NE fans - two exclusive, vintage gems on wax? No question.

Almost any other record would be eclipsed by this story. Pretty much an exact year ago, GoodFelons Records announced one of their most exc...

Werner's Humble, Little Guide to Getting Yourself a Record Player

Sometimes readers message or e-mail me saying, "OMG! I've been looking for that song for 15 years! I need it! Please send me an mp3!" And it's not even something that rare... Like, it'll be "Holy Intellect" by Poor Righteous Teachers. So, usually I'll spend two seconds to find a super cheap copy of the 12" on EBay, link it like, "there ya go. Get yourself the original with the picture cover and everything." And they reply "but I don't have a record player."

Records players are cheap, plentiful and easy to come by. I understand if you're living in a shelter or your car; but if you can get yourself an ipod, an X-Box, a DVD player and a laptop, there is no reason why a such a self-respecting hip-hop head shouldn't have a record player. Trust me, there's no reason to be intimidated by the various models, features, etc. Unless you're a hardcore DJ, you really don't need to know about types of drives, needles, etc.